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Acting the Part

Acting the Part offers a paradigm for understanding how audiences participate in immersive theater, from physical spaces like the Globe in London to digital spaces like social virtual reality. Reading across twenty-first century productions of ancient Greek tragedies and William Shakespeare’s plays,...

Ausführliche Beschreibung

Gespeichert in:
Hauptverfasser: Hunter, E.B., Hunter, Elizabeth
Format: Online
Sprache:Englisch
Veröffentlicht: University of Michigan Press 2025
Schlagworte:
immersive theater, audience participation, Shakespeare, ancient Greek drama, tragedy, Globe, London, New York City, twenty-first century, convergence culture, enactive, enactivity, performance, theater, open-world, Sleep No More, Punchdrunk, Macbeth, film noir, Alfred Hitchcock, Stanley Kubrick, mask, McKittrick Hotel, Lady Macbeth, sleuth, worshiper, patron, protagonist, Tempest, Pandora, Finding Pandora X, Tender Claws, Double Eye Studios, Shakespeare's Globe, Emursive, Felix Barrett, Maxine Doyle, Kiira Benzing, Samantha Gorman, Fabulab, Bitter Wind, Marianne Weems, Builders Association, Elements of Oz, Northwestern, Microsoft, HoloLens, Facebook, Meta, metaverse, Quest, virtual reality, augmented reality, extended reality, mixed reality, meta quest, garage at northwestern, washington university in st. louis, washu, spectatorship, audience
thema EDItEUR::A The Arts::AT Performing arts
thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies
thema EDItEUR::A The Arts::AB The arts: general topics
thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBC Cultural and media studies::JBCT Media studies
Online-Zugang:ONIX_20251014T103025_9780472905300_4
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Zusammenfassung:Acting the Part offers a paradigm for understanding how audiences participate in immersive theater, from physical spaces like the Globe in London to digital spaces like social virtual reality. Reading across twenty-first century productions of ancient Greek tragedies and William Shakespeare’s plays, E. B. Hunter proposes the concept of “enactivity” to describe the positionality audiences inhabit when their participation is critical to the narrative but cannot alter its intended course. This positionality is that of the archetype, the enactment of which is shaped by four production conditions: a historically resonant site, a canonical source, an immersive space, and a production-specific economy that incentivizes some behaviors and discourages others. At the heart of Acting the Part is a framework for identifying how a production’s management of these conditions gives rise to a range of archetypes, such as worshiper, sleuth, cinematographer, and others. Against the backdrop of an ever-increasing push for audience participation, Acting the Part sheds new light on the many ways in which productions shape that participation in real time.

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